[13] At Documenta IV in Kassel in 1968, he positioned a large, plaster slash as the centre of a totally white labyrinth, including ceiling and floor (Ambiente spaziale bianco).[18][19]. One of the art movements peculiar for always having influenced artists more so than art historians happens to be Spatialism. Fontana had found his studio and works completely destroyed in the Allied bombings of Milan,[7] but soon resumed his ceramics works in Albisola. [9], Fontana often lined the reverse of his canvases with black gauze so that the darkness would shimmer behind the open cuts and create a mysterious sense of illusion and depth. In 1935 he joined the association Abstraction-Création in Paris and from 1936 to 1949 made expressionist sculptures in ceramic and bronze. References. His first solo exhibition at an American museum was held at the Walker Art Center, Minneapolis, in 1966. In Buenos Aires (1946) he founded the Altamira academy together with some of his students, and made public the White Manifesto, where it is stated that "Matter, colour and sound in motion are the phenomena whose simultaneous development makes up the new art". In 2005, the Franco-German artist couple Cécile Colle and Ralf Nuhn[2] produced a series of canvases with computer connectors inserted into them, entitled "Cyber-Spatialism." Executed in 1967, a decade after Fontana first made this radical artistic breakthrough and inaugurated the series of tagli for which he is best known, this work embodies the dramatic conceptual and formal power of the slash. As a consequence of his first visit to New York in 1961, he created a series of metal works, done between 1961 and 1965. Early Life. [4], In 1927 Fontana returned to Italy and studied alongside Fausto Melotti under the sculptor Adolfo Wildt,[5] at Accademia di Brera from 1928 to 1930. Known as a founder of Spatialism and for his ties to Arte Povera, Fontana remains one of the monumental figures in the time of great artists. The project was heavily influenced by Fontana's work. [27], A rare, large crimson work with a single slash, which Fontana dedicated to his wife and which has always been known as the Teresita, fetched £6.7 million ($11.6 million) at Christie's London in 2008, then an auction record for the artist. He devised the generic title Concetto spaziale ('spatial concept') for these works and used it for almost all his later paintings. Lucio Fontana (19 February 1899 – 7 September 1968) was an Argentine-Italian painter, sculptor and theorist. Lucio Fontana (Italian: [ˈluːtʃo fonˈtaːna]; 19 February 1899 – 7 September 1968) was an Italian painter, sculptor and theorist of Argentine birth. [8], Following his return to Italy in 1948 Fontana exhibited his first Ambiente spaziale a luce nera ('Spatial environment') (1949) at the Galleria del Naviglio in Milan, a temporary installation consisting of a giant amoeba-like shape suspended in the void in a darkened room and lit by neon light. [28] Fontana's Concetto Spaziale, Attese (1965), from the collection of Anna-Stina Malmborg Hoglund and Gunnar Hoglund set a new record for a slash painting at £8.4 million at Sotheby's London in 2015. He manipulated the paint with his fingers and various instruments to make furrows, sometimes including scattered fragments of Murano glass. Then he left his home in Milano and went to Comabbio (in the province of Varese, Italy), his family's mother town, where he died in 1968. [15], Fontana engaged in many collaborative projects with the most important architects of the day, in particular with Luciano Baldessari, who shared and supported his research for Spatial Light – Structure in Neon (1951) at the 9th Triennale and, among other things, commissioned him to design the ceiling of the cinema in the Sidercomit Pavilion at the 21st Milan Fair in 1953. Lucio Fontana was an Argentine-Italian painter, sculptor and theorist. Find a list of greatest artworks associated with Spatialism at Wikiart.org ... Concept Spatiale Lucio Fontana • 1959-1960. [17] The works consisted of large sheets of shiny and scratched copper, pierced and gouged, cut through by dramatic vertical gestures that recall the force of New York construction and the metal and glass of the buildings. It repudiated the illusory or "virtual" space of traditional easel painting and sought to unite art and science to project colour and form into real space by the use of up-to-date techniques such as neon lighting and television. In 2013, Luca Massimo Barbero, Nina Ardemagni Laurini and Silvia Ardemagni published a three-volume catalogue raisonné of Fontana's works on paper, including more than 5,500 works in chronological order. Lucio Fontana (Italian: [ˈluːtʃo fonˈtaːna]; 19 February 1899 – 7 September 1968) was an Argentine-Italian painter, sculptor and theorist. Fontana created a prolific amount of graphic work with abstract motifs as well as figures, little-known in the art world, at the same time as he was producing his abstract perforated works. [10] He then created an elaborate neon ceiling called "Luce spaziale" in 1951 for the Triennale in Milan. He is mostly known as the founder of Spatialism. [citation needed] [31], In Nov 2015, Christie's set an auction record for the artists work Concetto spaziale, La fine di Dio, 1964, sold for a $29million [32], "Press Release: Lucio Fontana: Venice/New York opens at Guggenheim Museum". In it he spoke of a new "spatial" art in keeping with the spirit of the post-war age. In 1961, following an invitation to participate along with artists Jean Dubuffet, Mark Rothko, Sam Francis, and others in an exhibition of contemporary painting entitled "Art and Contemplation", held at Palazzo Grassi in Venice, he created a series of 22 works dedicated to the lagoon city. An Italian sculptor, painter, and theorist who was born in Argentina is best known as the founder of Spatialism and his ties to Arte Povera, a modern art movement introduced in Italy in 1967. In Milan, he collaborated with noted Milanese architects to decorate several new buildings that were part of the effort to reconstruct the city after the war. Although Fontana's ideas were vague, his outlook was influential, for he was one of the first, certainly the first European artist to truly promote the idea of art as gesture or performance, rather than as the creation of an enduring physical work. Throughout his prolific career, Lucio Fontana demonstrated a relentless interest in the relationship between surface and dimensionality. The main ideas of the movement were anticipated in his Manifiesto blanco (White Manifesto) published in Buenos Aires in 1946. “Spatial Explorations: Lucio Fontana and the Avant-Garde in Milan in the 50s and 60s," co-hosted by Italy’s largest bank Intesa Sanpaolo, runs parallel to … [16], Around 1960, Fontana began to reinvent the cuts and punctures that had characterized his highly personal style up to that point, covering canvases with layers of thick oil paint applied by hand and brush and using a scalpel or Stanley knife to create great fissures in their surface. By ripping through his canvases, Lucio Fontana changed what a painting could be, and the course of art history. Tornabuoni art held a parallel show in its Avenue Matignon Paris gallery space. Sotheby's sold a work titled Concetto spaziale, la fine di dio (1963) for £10.32 million in 2008. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. He is mostly known as the founder of Spatialism. In his Buchi (holes) cycle, begun in 1949–50, he punctured the surface of his canvases, breaking the membrane of two-dimensionality in order to highlight the space behind the picture. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. [7] Since 1930 Fontana's work had been exhibited regularly at the Venice Biennale, and he represented Argentina various times; he was awarded the Grand Prize for Painting at the Venice Biennale of 1966. In 1939, he joined the Corrente, a Milan group of expressionist artists. With his Pietre (stones) series, begun in 1952, Fontana fused the sculptural with painting by encrusting the surfaces of his canvases with heavy impasto and colored glass. From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings, drawing a sign of what he named "an art for the Space Age". His contributions It repudiated the illusory or "virtual" space of tradition… [25] Fontana's jewelry is included in the permanent collection of the Museum of Fine Arts, Boston. “I am a sculptor, not a ceramicist,” Lucio Fontana declared (more than once) in his writings. by Nora Griffin. Born to Italian parents in Rosario de Santa Fé, Argentina, in 1899, Lucio Fontana began his artistic career as a sculptor, working under his father Luigi before setting out on his own. [24], Fontana's works can be found in the permanent collections of more than one hundred museums around the world. Lucio Fontana. Iron Alberto Burri • 1960. The movement focused on the spatial qualities of sculpture and paintings with the goal of breaking through the two-dimensionality of the traditional picture plane. Research International recognized as the most important revolutionary artist of the Postwar period, Lucio Fontana, deeply changed the way to see and to intend the artwork, analyzing the powerful of the third and four dimension and collaborating with the … Fontana formulated the theory of Spatialism in a series of manifestos dating from the late 1940s to early 1950s, proposing that matter should be infiltrated by energy in order to generate dimensional, dynamic artistic forms. 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